Cinematographer Kishore Boyidapu Interview: Direction Is Not On My Mind Right Now

Cinematographer Kishore Boyidapu has steadily carved a niche for himself with his visual storytelling and technical expertise. Having worked across Telugu cinema, Bollywood, and even Hollywood projects, Kishore has earned recognition for his dedication and craft behind the camera.

Starting his career from the grassroots level in the camera department, he gradually evolved into an accomplished cinematographer through years of hard work and learning. In this exclusive interaction, Kishore Boyidapu speaks about his cinematic journey, working on Hollywood films, the challenges of single-shot filmmaking, the evolving technology in cinema, and his upcoming projects.

Tell us about your background and how your interest in cinematography began?

My full name is Durga Kishore Kumar. Since my entire family was connected to the film industry, I naturally developed an interest in cinema from a very young age. My father used to take photographs of us and narrate stories through those pictures. That process fascinated me deeply, and that’s where my passion for cameras and visual storytelling began.

How did your journey in cinema start?

I started my career in 2002 as a camera assistant in Ravi Prasad garu’s unit. After working there for around four years, I shifted to Mumbai. One of my earliest projects there was working in the camera department for Slumdog Millionaire.

Later, I got opportunities to work on several English films and eventually worked on nearly 15 Hollywood projects, including Mission: Impossible 4. Those experiences gave me immense technical exposure and confidence.

How did your journey as a Director of Photography evolve?

In 2012, I worked as the Director of Photography for a film titled Boy Meets Girl. Later, in 2015, my association with renowned cinematographer Anil Mehta sir began with Ae Dil Hai Mushkil, and that journey continued till Jersey.

Working with Anil Mehta sir as one of his main assistants gave me invaluable experience. Everything I learned during that phase continues to help me even today. I’m always grateful to him for shaping my understanding of cinematography.

After COVID, when I started getting opportunities for projects like My Name Is Shruthi and 105 Minutes, I discussed it with him. He encouraged me to move forward independently as a cinematographer, and that gave me a fresh start in my career.

You worked on the single-shot film 105 Minutes. How challenging was that experience?

Making a single-shot film is extremely difficult. In 105, starring Hansika, we made the film with a single character and in a continuous single-shot format.

The audience may not fully realize the effort involved behind such filmmaking, but technically it is highly demanding. Even a small mistake means the entire process has to start all over again. It requires tremendous coordination, planning, and precision from every department.

How do you see the transition from film stock to digital filmmaking?

Earlier, films were shot on film stock, and filmmakers had to be extremely cautious about film usage and shot lengths. Today, everything has become digital, which gives filmmakers much more flexibility to experiment and take multiple takes if needed.

Now, cinematographers spend a lot of time researching lenses according to the story, mood, and budget. Choosing the right lens itself has become a major creative process. Personally, I mostly prefer using Cooke lenses. For the upcoming film Premaku Namaskaram, starring Shanmukh, I used the Cooke 7 lens.

Which cinematographers inspire you the most?

Every cinematographer has their own style and approach. I admire Ravi Varman sir, Anil Mehta sir, and Sudeep Chatterjee sir a lot.

There is no fixed rule in cinematography. Everything depends on the mood of the scene and the situation during shooting. Sometimes, even when we feel there is scope for improvement, time pressure forces us to move ahead. What matters most is delivering the best possible output within the available time.

What is the major difference between Hollywood and Indian cinema visually?

Hollywood films usually use softer, more natural, and realistic color tones. Their lighting style is very controlled and subtle. Indian cinema, however, embraces vibrant colors, richer skin tones, and emotional lighting.

That difference comes from our culture and storytelling traditions. Our festivals, costumes, emotions, and atmosphere naturally demand colorful visuals. That emotional richness is an important part of Indian cinema.

Technically, Hollywood also spends much more time on DI (Digital Intermediate) and advanced workflows like ACES, RAW, and HDR. Indian cinema, especially OTT content, is gradually moving in that direction as well.

Hollywood presents visuals more realistically, whereas Indian cinema presents visuals with emotional and cultural depth.

You recently completed a project in a very short duration. How was that possible?

We managed to complete the entire shoot in just 17 days because of strong pre-production planning and excellent teamwork from every department.

Before going to locations, we spent a lot of time discussing scene breakdowns, execution plans, and shot divisions. That clarity during pre-production made the shoot process very smooth and efficient.

The support from the entire cast and crew played a huge role in completing the project on schedule. Team coordination was the biggest strength behind that achievement.

Have you ever considered becoming a director?

Transitioning from cinematography to direction is not easy. Direction carries huge responsibility and pressure. I do have a few ideas, but currently I’m not planning to move into direction anytime soon.

At present, I’m more focused on learning AI technology and understanding how it can influence filmmaking in the future.

What are your upcoming projects?

Premaku Namaskaram is ready for release. The film stars Shanmukh, Shivaji garu, and Bhumika garu.

Another film titled Mana Doctor Babu, starring Rajeev Kanakala in the lead role, is currently in post-production. Apart from these, a few more projects are presently under discussion.